Sadly Over-hyped

Overrated and overhyped

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

This movie feels like it was made purely to piss off people who want good shows

George Montgomery has a field day as a race car driver on the Southern circuit in the early 1970s. He won the Dayton 500, but he has fallen on hard times. Worse, he has an accident with another driver during a race in his hometown. The wife of the dead driver, who was incinerated in the conflagration that engulfed his car, blames our hero Paul Tunney (George Montgomery) for her husband's death. She all but places a curse on Tunney. Indeed, an undertaker (Cyril Poitier) arranges to have Tunney thrown into a casket so Carol Butler (Gay Perkins) can show how much she despises him. Literally, she stalks Tunney and he seems to catch a glimpse of her at every race. Eventually, after his fortunes really go south, Tunney has to drive with a team. It seems that he careened off the racetrack and smashed into a parked car. The ensuing explosion landed Tunney in the hospital. He has to sign away his house to get medical attention. Unfortunately, Tunney has to throw in with an unsavory crowd that want to utilize his unique driving skills. Nobody can catch Tunney when he is behind the wheel of a car. Tunney gives the cops a run for the money. One-time only Director Robert W. Stringer stages some excellent driving sequences on real-life roads. The best stunt in "The Daredevil" depicts our hero leaping his huge Ford across a river with the middle section of the bridge missing. Clearly, this is the scene that inspired "The Dukes of Hazzard." Terry Moore is the love interest and she beds down with Tunney. The ending is a lot like the ending of the Robert Mitchum movie "Thunder Road." This low-budget, home-made thriller captures America during a special time.

Out there on MOGUL Communications VHS is this road movie that used to play at drive-ins in the seventies. It has a few car chases that are filmed and edited in the typical cheap way. You know, speeding up the film as it looks that they are driving like mad people but there are a few shots inserted that has split screens and that surprised me which means that the director, Robert W. Stringer, knew his stuff and let this be his one and only flick he directed, he was more involved in soundtracks. Also clearly to see that it was a low budget flick. There's one shot towards the end were blood is involved and it just looked like syrup and the edited the way he died so they didn't need any effects. There's also use of a lot of stock-car racing footage and it does work. The acting for such kinds of flicks was rather good. I won't go into any names because for me no-one jumped out of it by acting. Surprisingly good drive-in flick with a lot of editing effects (flash back in the car in the last reel), won't compare it to Drive (2011) but if that's your kind of flick and you can dig low budget then it's worth watching.Gore 0/5 Nudity 0/5 Effects 0/5 Story 3/5 Comedy 0/5

Over half the credited cast and a dozen credited crew members aren't even currently in the database.Actually, Dan Fleenor (not even in the database at the moment), who was the credited stunt co-ordinator and choreographed and supervised all the chase sequences, was the leader of the Hurricane Hell-Drivers who performed at fairs, expositions and in front of many dirt-track grandstands primarily in the southeastern U.S. He was also the stunt-driver who doubled the race-driving for Clark Gable in 1950's "To Please a Lady." Most of the cast/crew were Miami-based and, for the time period, there were more Blacks on both sides of the camera than the usual norm, including Eugene Small who was head of the Sound. Executive Producer K. Gordon Murray, not known for missing any sliver of exploitation, advised the exhibitors to make use of the Black Newspapers and Black radio stations in their area by pointing this out. Well and good, except the vast majority of the bookings for the film weren't in theatres that had Black-owned theatres or radio stations in their vicinity.Lois Lee and "The Brooklyn Bridge" (led by Johnny Maestro)performed the three songs used in the film and are on-screen. None of the songs used were written by Johnny Maestro.Most of the film's distribution came from states rights outfits, such as Eric Distributing Company in Dallas, and was, to say the least, somewhat limited. The running time on original release was 91 minutes. The video version (if it is indeed 72 minutes)appears to be more than a little bit edited.

I missed this at my local drive-in in 1973, but thanks to the wonder world of home video, I can now see it to my heart's content in the comfort and privacy of my own home. And what I missed was an incredible southern-oriented drive-in film that combines kick-ass crime elements a la Walking Tall with car racing and an incredible existential ending that I still can't believe I saw. George Montgomery, in one of his last starring roles, is perfect as the burned-out auto racer who only lives for the thrill of the race and is kind of lost once he gets out of that element. This amazing film introduces a race-relations subplot on top of that, features hallucination sequences that are chilling,and has the kind of tough ambience that only a 70s drive-in action film can possess. There must be an interesting story behind this film, as director Robert W. Stringer and writer Robert Walsh have no other IMDB credits. Did they work locally in television or industrial filmmaking or commercials? Or did they come out of the woodwork for one over-the-top masterpiece and then vanish into thin air? The film's producer was the legendary K. Gordon Murray, no doubt wanting to cash-in on the profitable southern drive-in action film genre, and doing a completely successful job of it. As I understand it, the film did not get widely distributed and I don't ever remember seeing it on television. Now it is around on VHS is great condition and is a must-see for anyone who would find a cross between Walking Tall and Vanishing Point to be appealing.